The Unwomanly Face of War

bySvetlana Alexievich, Richard Pevear (Translator), Larissa Volokhonsky (Translator)
"Why, having stood up for and held their own place in a once absolutely male world, have women not stood up for their history? A whole world is hidden from us. Their war remains unknown... I want to write the history of that war. A women's history."

In the late 1970s, Svetlana Alexievich set out to write her first book, The Unwomanly Face of War, when she realized that she grew up surrounded by women who had fought in the Second World War but whose stories were absent from official narratives. Travelling thousands of miles, she spent years interviewing hundreds of Soviet women - captains, tank drivers, snipers, pilots, nurses and doctors - who had experienced the war on the front lines, on the home front and in occupied territories.

With the dawn of Perestroika, a heavily censored edition came out in 1985 and it became a huge bestseller in the Soviet Union - the first in five books that have established her as the conscience of the twentieth century.
Extraordinary. . . it would be hard to find a book that feels more important or original. . . Alexievich's strength - and a mark of her own courage - is that she is forever on the lookout for the seemingly inconsequential, almost trivial human moments. . . Her achievement is as breathtaking as the experiences of these women are awe-inspiring
Viv Groskop, Observer

About Svetlana Alexievich

Svetlana Alexievich was born in Ivano-Frankivsk in 1948 and has spent most of her life in the Soviet Union and present-day Belarus, with prolonged periods of exile in Western Europe. Starting out as a journalist, she developed her own, distinctive non-fiction genre which brings together a chorus of voices to describe a specific historical moment. Her works include The Unwomanly Face of War (1985), Last Witnesses (1985), Boys in Zinc (1991), Chernobyl Prayer (1997) and Second-Hand Time (2013). She has won many international awards, including the 2015 Nobel Prize in Literature for 'her polyphonic writings, a monument to suffering and courage in our time'.
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